Môjû (1969)

Note des utilisateurs:

7.3/10   

Réalisateur:

Yasuzo Masumura

Writers:

Rampo Edogawa (story)
Yoshio Shirasaka (writer)

Release Date:

avril 1969 (USA)

Genre:

Drame | Horror

Plot:

A blind sculpter and his mother kidnap a young model.

Plot Keywords:

Blindness | Dismemberment | Kidnapping | Psycho Sexual | Rape

Avis des utilisateurs:

Bizarre Japanese Film Is A Bona Fide Cult Classic

Ensemble

Eiji Funakoshi	...	Michio
Mako Midori	...	Aki
Noriko Sengoku	...	Mother

Autre(s) titre(s) :

Blind Beast (USA)
Moju (Japan) (alternative spelling)
Warehouse
Bête aveugle, La (France) [fr]

Durée:

86 min

Pays:

Japan

Langue:

Japonais

Couleur:

Couleur (Daieicolor)

Aspect Ratio:

2.35 : 1

Son:

Mono (Westrex Recording System)

Classification:

UK:18 | France:-16

Company:

Daiei Motion Picture Company

Bizarre Japanese Film Is A Bona Fide Cult Classic

Cinema and literature have perpetuated the notion that physical gratification is never as important as emotional fulfillment, so I was naturally pleased with way this Japanese film puts corporal pleasure back on a pedestal where it belongs. Don't get me wrong, I'm a romantic at heart. But I've always cringed at the concept that sex is a mundane thing. The film revolves around a beautiful model that is kidnapped by a blind artist. The man wants to create a sculpture of the woman's body but she is not all that pleased with the idea of being the prisoner of a third-rate artist. The concept of ultimate pleasure through the sense of touch is handled with imagination by director Masumura. He boldly enters sadomasochism territory and makes no apologies for it. The final 20 minutes are grotesque and disturbing but the film shocks you not images but with ideas. And near the end of the film the bizarre behavior of characters reaches an entirely different level that can only be described as surreal. Masumura has created a dreamlike experience without ever resorting to phony tricks of photography. Eiji Funakoshi and Mako Midori are excellent in the starring roles. It would make a wonderful double feature with William Wyler's "The Collector", which covers similar ground in a less iconoclastic fashion.